Francisco d'Anconia On Money

Exalted quote from Ayn Rand. Exalting the wrong thing...

"When you have made evil the means of survival, do not expect men to remain good. Do not expect them to stay moral and lose their lives for the purpose of becoming the fodder of the immoral. Do not expect them to produce, when production is punished and looting rewarded. Do not ask, 'Who is destroying the world?' You are.

"You stand in the midst of the greatest achievements of the greatest productive civilization and you wonder why it's crumbling around you, while you're damning its life-blood—money. You look upon money as the savages did before you, and you wonder why the jungle is creeping back to the edge of your cities. Throughout men's history, money was always seized by looters of one brand or another, whose names changed, but whose method remained the same: to seize wealth by force and to keep the producers bound, demeaned, defamed, deprived of honor. That phrase about the evil of money, which you mouth with such righteous recklessness, comes from a time when wealth was produced by the labor of slaves—slaves who repeated the motions once discovered by somebody's mind and left unimproved for centuries. So long as production was ruled by force, and wealth was obtained by conquest, there was little to conquer. Yet through all the centuries of stagnation and starvation, men exalted the looters, as aristocrats of the sword, as aristocrats of birth, as aristocrats of the bureau, and despised the producers, as slaves, as traders, as shopkeepers—as industrialists.

"To the glory of mankind, there was, for the first and only time in history, a country of money—and I have no higher, more reverent tribute to pay to America, for this means: a country of reason, justice, freedom, production, achievement. For the first time, man's mind and money were set free, and there were no fortunes-by-conquest, but only fortunes-by-work, and instead of swordsmen and slaves, there appeared the real maker of wealth, the greatest worker, the highest type of human being—the self-made man—the American industrialist.

"If you ask me to name the proudest distinction of Americans, I would choose—because it contains all the others—the fact that they were the people who created the phrase 'to make money.' No other language or nation had ever used these words before; men had always thought of wealth as a static quantity—to be seized, begged, inherited, shared, looted or obtained as a favor. Americans were the first to understand that wealth has to be created. The words 'to make money' hold the essence of human morality."

Atlas Shrugged by Ayn Rand, p. 386

On Music

Ayn Rand on music:

Music conveys the same categories of emotions to listeners who hold widely divergent views of life. As a rule, men agree on whether a given piece of music is gay or sad or violent or solemn. But even though, in a generalized way, they experience the same emotions in response to the same music, there are radical differences in how they appraise this experience—i.e., how they feel about these feelings.

On a number of occasions, I made the following experiment: I asked a group of guests to listen to a recorded piece of music, then describe what image, action or event it evoked in their minds spontaneously and inspirationally, without conscious devising or thought (it was a kind of auditory Thematic Apperception Test). The resulting descriptions varied in concrete details, in clarity, in imaginative color, but all had grasped the same basic emotion—with eloquent differences of appraisal. For example, there was a continuum of mixed responses between two pure extremes which, condensed, were: "I felt exalted because this music is so light-heartedly happy," and: "I felt irritated because this music is so light-heartedly happy and, therefore, superficial."

Psycho-epistemologically, the pattern of the response to music seems to be as follows: one perceives the music, one grasps the suggestion of a certain emotional state and, with one's sense of life serving as the criterion, one appraises this state as enjoyable or painful, desirable or undesirable, significant or negligible, according to whether it corresponds to or contradicts one's fundamental feeling about life.

When the emotional abstraction projected by the music corresponds to one's sense of life, the abstraction acquires a full, bright, almost violent reality—and one feels, at times, an emotion of greater intensity than any experienced existentially. When the emotional abstraction projected by the music is irrelevant to or contradicts one's sense of life, one feels nothing except a dim uneasiness or resentment or a special kind of enervating boredom.

The Objectivist, Ayn Rand, p. 1014-5

Introduction To The Fountainhead, Part 3

Ayn Rand on sense of life,

Perhaps the best way to communicate The Fountainhead's sense of life is by means of the quotation which had stood at the head of my manuscript, but which I removed from the final, published book. With this opportunity to explain it, I am glad to bring it back.

I removed it, because of my profound disagreement with the philosophy of its author, Friedrich Nietzsche. Philosophically, Nietzsche is a mystic and an irrationalist. His metaphysics consists of a somewhat "Byronic" and mystically "malevolent" universe; his epistemology subordinates reason to "will," or feeling or instinct or blood or innate virtues of character. But, as a poet, he projects at times (not consistently) a magnificent feeling for man's greatness, expressed in emotional, not intellectual terms.

This is especially true of the quotation I had chosen. I could not endorse its literal meaning: it proclaims an indefensible tenet—psychological determinism. But if one takes it as a poetic projection of an emotional experience (and if, intellectually, one substitutes the concept of an acquired "basic premise" for the concept of an innate "fundamental certainty"), then that quotation communicates the inner state of an exalted self-esteem—and sums up the emotional consequences for which The Fountainhead provides the rational, philosophical base:

"It is not the works, but the belief which is here decisive and determines the order of rank—to employ once more an old religious formula with a new and deeper meaning,—it is some fundamental certainty which a noble soul has about itself, something which is not to be sought, is not to be found, and perhaps, also, is not to be lost.—The noble soul has reverence for itself.—" (Friedrich Nietzsche, Beyond Good and Evil.)

This view of man has rarely been expressed in human history. Today, it is virtually non-existent. Yet this is the view with which—in various degrees of longing, wistfulness, passion and agonized confusion—the best of mankind's youth start out in life. It is not even a view, for most of them, but a foggy, groping, undefined sense made of raw pain and incommunicable happiness. It is a sense of enormous expectation, the sense that one's life is important, that great achievements are within one's capacity, and that great things lie ahead.

The Fountainhead, Ayn Rand, p. x-xi

Introduction To The Fountainhead, Part 2

Ayn Rand on religion, man-worship, and sense of life:

This leads me to a wider issue which is involved in every line of The Fountainhead and which has to be understood if one wants to understand the causes of its lasting appeal.

Religion's monopoly in the field of ethics has made it extremely difficult to communicate the emotional meaning and connotations of a rational view of life. Just as religion has preempted the field of ethics, turning morality against man, so it has usurped the highest moral concepts of our language, placing them outside this earth and beyond man's reach. "Exaltation" is usually taken to mean an emotional state evoked by contemplating the supernatural. "Worship" means the emotional experience of loyalty and dedication to something higher than man. "Reverence" means the emotion of a sacred respect, to be experienced on one's knees. "Sacred" means superior to and not-to-be-touched-by any concerns of man or of this earth. Etc.

But such concepts do name actual emotions, even though no supernatural dimension exists; and these emotions are experienced as uplifting or ennobling, without the self-abasement required by religious definitions. What, then, is their source or referent in reality? It is the entire emotional realm of man's dedication to a moral ideal. Yet apart from the man-degrading aspects introduced by religion, that emotional realm is left unidentified, without concepts, words or recognition.

It is this highest level of man's emotions that has to be redeemed from the murk of mysticism and redirected at its proper object: man.

It is in this sense, with this meaning and intention, that I would identify the sense of life dramatized in The Fountainhead as man-worship.

It is an emotion that a few—a very few—men experience consistently; some men experience it in rare, single sparks that flash and die without consequences; some do not know what I am talking about; some do and spend their lives as frantically virulent spark-extinguishers.

Do not confuse "man-worship" with the many attempts, not to emancipate morality from religion and bring it into the realm of reason, but to substitute a secular meaning for the worst, the most profoundly irrational elements of religion. For instance, there are all the variants of modern collectivism (communist, fascist, Nazi, etc.), which preserve the religious-altruist ethics in full and merely substitute "society" for God as the beneficiary of man's self-immolation. There are the various schools of modern philosophy which, rejecting the law of identity, proclaim that reality is an indeterminate flux ruled by miracles and shaped by whims—not God's whims, but man's or "society's." These neo-mystics are not man-worshipers; they are merely the secularizers of as profound a hatred for man as that of their avowedly mystic predecessors.

A cruder variant of the same hatred is represented by those concrete-bound, "statistical" mentalities who—unable to grasp the meaning of man's volition—declare that man cannot be an object of worship, since they have never encountered any specimens of humanity who deserved it.

The man-worshipers, in my sense of the term, are those who see man's highest potential and strive to actualize it. The man-haters are those who regard man as a helpless, depraved, contemptible creature—and struggle never to let him discover otherwise. It is important here to remember that the only direct, introspective knowledge of man anyone possesses is of himself.

More specifically, the essential division between these two camps is: those dedicated to the exaltation of man's self-esteem and the sacredness of his happiness on earth—and those determined not to allow either to become possible. The majority of mankind spend their lives and psychological energy in the middle, swinging between these two, struggling not to allow the issue to be named. This does not change the nature of the issue.

The Fountainhead, Ayn Rand, p. ix-x

Notre-Dame de Paris

Ayn Rand on Notre-Dame de Paris by Victor Hugo:

Although the priest does terrible things in the novel, one is never convinced that he is a total villain. Hugo obviously intended him as a villain, but, psychologically and philosophically, he was not sold on the idea. This conflict between Hugo's conscious convictions and his deepest, subconscious view of life shows in his style.

If Hugo's full conviction had been that the priest's passion is evil, the priest's way of speaking of his passion would have been much less attractive. He would have projected something ugly or sadistic—a perverted or evil feeling. But instead he speaks of his love in so romantic a way—the examples selected are so glowing and beautiful—that the reader necessarily feels sympathy for him (and so does the author).

In this passage, there are no exalted sentences in defense of religion. When the priest mentions religion, it is always in a blasphemous manner. In this particular projection, religion means nothing to him; he wants to put God under the girl's feet—which is wonderful, but not the way to project an evil passion.

If Hugo's own viewpoint had been what it ostensibly is—if he had really considered the priest a villain for his conflict—he would have presented the passion less attractively and religion more forcefully. But Hugo's subconscious is so much on the side of love and of this earth that I say: "May his God help him!"

Throughout the novel, the priest keeps announcing that his passion is "fate." In fact, earlier in his speech to the girl, he states that he lost the battle against temptation because God did not give to man a power as strong as the devil's. This is a deterministic premise. But what an author might have his characters say, or even what his own stated philosophy might be, is an issue totally different from what his actual, subconscious premises are—as this speech illustrates.

The speech expresses a violence of emotion that can come only from the possibility of choice. An automaton does not experience violent emotions. In literature written on the determinist premise, emotions of pain can be convincingly portrayed, but never a violent passion for a specific object on earth.

Observe the priest's self-assertion. He constantly tells how he tried to fight his passion; then, when he felt the desire to see the girl again, he watched and waited for her. He constantly talks about what he did; and he is begging her to have pity on him, by which he means: consent to love him. He is acting on his passion. He has decided that he cannot fight it any longer, so now he will try to win her. And his emotional violence has one purpose: "If I can convince her of the greatness of my love, then maybe I can win her." This is a man in charge of his own destiny.

If a man in a Naturalistic novel has a passion he cannot resist, there is an enormous tone of whining, amounting to: "Poor little me, I couldn't help it." Here, although the priest uses begging terms like have pity on me and mercy, his tone is not one of complaint.

The Art of Fiction, Ayn Rand, p. 101 - 102

What Is Important?

Leonard Peikoff on what is important:

No concrete within an art work, such as the type of ending given to a story, can be judged outside the full context of the work. The point is that, within the context, every concrete, simply by virtue of being included, acquires significance.

As a teenager, I told Miss Rand once that it was difficult to live up to the exalted quality of her novels. "If John Galt were out on a date," I said, "he would open a bottle of champagne with the ease of flourishing a cape, and the mood would be highly romantic. But when I do it, the cork sticks, I fumble with the bottle, and the mood is sabotaged. Why can't life be more like art?"

Miss Rand answered that the cork could very well stick for a real-life Galt, too. But if it did, he would brush the distraction aside; he would not let it affect his mood or evening. "In life," she said, "one ignores the unimportant; in art, one omits it."

Most men do not know in explicit terms what they regard as important. They are unfamiliar with philosophy and hold few ideas on the subject; yet they are able to create and/or respond to art. This is possible because all men, whatever their conscious mental content, hold metaphysical value-judgments in a special form, which Ayn Rand calls a sense of life. A "sense of life" is "a pre-conceptual equivalent of metaphysics, an emotional, subconsciously integrated appraisal of man and of existence." Such a subconscious appraisal is involved in art of any kind or school.

Objectivism: The Philosophy of Ayn Rand, Leonard Peikoff, p. 425-6

Sex

Leonard Peikoff on sex:

No man desires everyone on earth. Each has some requirements in this regard, however contradictory or unidentified—and the rational man's requirements, here as elsewhere, are the opposite of contradictory. He desires only a woman he can admire, a woman who (to his knowledge) shares his moral standards, his self-esteem, and his view of life. Only with such a partner can he experience the reality of the values he is seeking to celebrate, including his own value. The same kind of sexual selectivity is exercised by a rational woman. This is why Roark is attracted only to a heroine like Dominique, and why Dagny Taggart in Atlas Shrugged is desperate to sleep with John Galt, not with Wesley Mouch. Romantic love is the strongest positive emotion possible between two individuals. Its experience, therefore, so far from being an animal reaction, is a self-revelation: the values giving rise to this kind of response must be one's most intensely held and personal.

When a man and woman do fall in love—assuming that each is romantically free and the context otherwise appropriate—sex is a necessary and proper expression of their feeling for each other. "Platonic love" under such circumstances would be a vice, a breach of integrity. Sex is to love what action is to thought, possession to evaluation, body to soul. "We live in our minds," Roark observes, "and existence is the attempt to bring that life into physical reality, to state it in gesture and form." Sex is the preeminent form of bringing love into physical reality.

The subject of sex is complex and belongs largely to the science of psychology. I asked Ayn Rand once what philosophy specifically has to say on the subject. She answered: "It says that sex is good."

Sex is moral, it is an exalted pleasure, it is a profound value. Like happiness, therefore, sex is an end in itself; it is not necessarily a means to any further end, such as procreation. This uplifted view of sex leads to an ethical corollary: a function so important must be granted the respect it deserves.

To respect sex means to approach it objectively. The guiding principle should be: select a partner whom you love on the basis of values you can identify and defend; then do whatever you wish together in bed, provided that it is mutually desired and that your pleasures are reality-oriented. This excludes indiscriminate sexual indulgence and any form of destructiveness or faking—such as, among other examples, the chaser's promiscuity, the rapist's coercion, the adulterer's pretense of fidelity, and the sadist's pretense that his power to cause suffering is a mark of efficacy. (Fantasy, in sex as in other departments of life, is a form of imagination and thus legitimate, as long as one does not drop the distinction between fantasy and reality.)

The guiding principle in sex should be: esteem sex as an expression of reason and of man's life in the full, moral sense of the term; then, keeping this context in mind, pursue the value greedily.

Such a viewpoint is the opposite of today's dominant philosophy on the subject.

Objectivism: The Philosophy of Ayn Rand, Leonard Peikoff, p. 345-6

Exalted Sense of Life

Editor David Harriman writes:

Despite the tragic aspects of To Lorne Dieterling, the novel was to have an uplifting theme. AR's purpose was to show that Hella, as a profoundly independent person, can be affected "only down to a certain point." Though she suffers as a result of the moral treason of others, she is ultimately able to preserve the exalted sense of life that is so eloquently expressed in AR's favorite music.

AR regarded philosophy as a means to the achievement of a unique goal: the lighthearted, joyous state of existence that she had envisioned—and experienced—from the time of her youth. It is fitting, therefore, that her last fiction notes are about a woman like herself, who maintains such a view of life to the end, even while those around her do not.

The Journals of Ayn Rand, David Harriman (editor), p. 716

Exalted Egoism

From Ayn Rand's first philosophic journal:

An example from my own experience, which, at the present time, affects me most, is the fact that few men have the ability or the desire to judge literary work by its essential worth. To most men, that work becomes valuable only after it has been recognized as such by someone else. They themselves do not have any standards of their own (and they do not feel the lack). The same is true of any other field of mental activity: scientific, philosophical, etc. This is the great unselfishness of today. As a matter of fact, unselfishness is merely selflessness. The true, highest selfishness, the exalted egoism, is the right to have one's own theoretical values and then to apply them to practical reality. Without that self there are no values. Here again—ethics based on self, not on society, the mass, the collective, or any other form of selflessness.

The Journals of Ayn Rand, David Harriman (editor), p. 71

The Night of January 16th

Ayn Rand on The Night of January 16th:

This means that its events are not to be taken literally; they dramatize certain fundamental psychological characteristics, deliberately isolated and emphasized in order to convey a single abstraction: the characters' attitude toward life. The events serve to feature the motives of the characters' actions, regardless of the particular forms of the actions—i.e., the motives, not their specific concretization. The events feature the confrontation of two extremes, two opposite ways of facing existence' passionate self-assertiveness, self-confidence, ambition, audacity, independence—versus conventionality, servility, envy, hatred, power-lust.

I do not think, nor did I think when I wrote this play, that a swindler is a heroic character or that a respectable banker is a villain. But for the purpose of dramatizing the conflict of independence versus conformity, a criminal—a social outcast—can be an eloquent symbol. This, incidentally, is the reason of the profound appeal of the "noble crook" in fiction. He is the symbol of the rebel as such, regardless of the kind of society he rebels against, the symbol—for most people—of their vague, undefined, unrealized groping toward a concept, or a shadowy image, of man's self-esteem.

That a career of crime is not, in fact, the way to implement one's self-esteem, is irrelevant in sense-of-life terms. A sense of life is concerned mainly with consciousness, not with existence—or rather: with the way a man's consciousness faces existence. It is concerned with a basic frame of mind, not with rules of conduct.

If this play's sense of life were to be verbalized, it would say, in effect: 'Your life, your achievement, your happiness, your person are of paramount importance. Live up to your highest vision of yourself no matter what circumstances you might encounter. An exalted view of self-esteem is a man's most admirable quality: How one is to live up to this vision—how this frame of mind is to be implemented in action and in reality—is a question that a sense of life cannot answer: that is the task of philosophy.

The Journals of Ayn Rand, David Harriman (editor), p.22

I always felt this way about The Godfather. Many of the characters seemed heroic because of their ambition and independence. But of course, they were not heroic. And Michael Corleone certainly was not a man of self-esteem.

Religion And Sex

Ayn Rand on religion and sex:

The theoreticians of religion know that it is impossible to prohibit thought. They do not expect the ban on sexual thoughts to be obeyed. Their purpose is not to abolish such thoughts, but to induce guilt—and thus to undercut man's self-esteem.

The following small incident captures the essence of the religious censors' mentality. In the 1930s, the "self-censorship" office of the movie industry (known as the Hays Office or, later, the Johnson Office) went on one of its periodic crusades against sex in the movies. That office was run predominantly by a religious organization, the Purity League. The two foremost sex symbols of the period were Greta Garbo and Mae West, who embodied two diametrically opposite attitudes: Garbo projected an exquisitely spiritual, exalted, man-worshiping sexuality—Mae West offered an "earthy," eye-winking, hip-swinging, humorously vulgar image that verged on the obscene, projecting the silent invitation: "Come, one and all." A representative of the censorship office was quoted as saying: "We don't mind Mae West—she makes sex ludicrous. What we oppose is Greta Garbo—she makes it glamorous."

Use your own judgment on the question of whose goal is "to deprave or corrupt."

"Thought Control", The Ayn Rand Letter, p.251

John Galt

Exalted quote from Ayn Rand. This is John Galt speaking...

"You, who dare to regard us as the moral inferiors of any mystic who claims supernatural visions—you, who scramble like vultures for plundered pennies, yet honor a fortune-teller above a fortune-maker—you, who scorn a businessman as ignoble, but esteem any posturing artist as exalted—the root of your standards is that mystic miasma which comes from primordial swamps, that cult of death, which pronounces a businessman immoral by reason of the fact that he keeps you alive. You, who claim that you long to rise above the crude concerns of the body, above the drudgery of serving mere physical needs—who is enslaved by physical needs: the Hindu who labors from sunrise to sunset at the shafts of a hand-plow for a bowl of rice, or the American who is driving a tractor? Who is the conqueror of physical reality: the man who sleeps on a bed of nails or the man who sleeps on an inner-spring mattress? Which is the monument to the triumph of the human spirit over matter: the germ-eaten hovels on the shorelines of the Ganges or the Atlantic skyline of New York?

"Unless you learn the answers to these questions—and learn to stand at reverent attention when you face the achievements of man's mind—you will not stay much longer on this earth, which we love and will not permit you to damn. You will not sneak by with the rest of your lifespan. I have foreshortened the usual course of history and have let you discover the nature of the payment you had hoped to switch to the shoulders of others. It is the last of your own living power that will now be drained to provide the unearned for the worshippers and carriers of Death. Do not pretend that a malevolent reality defeated you—you were defeated by your own evasions. Do not pretend that you will perish for a noble ideal—you will perish as fodder for the haters of man.

"But to those of you who still retain a remnant of the dignity and will to love one's life, I am offering the chance to make a choice. Choose whether you wish to perish for a morality you have never believed or practiced. Pause on the brink of self-destruction and examine your values and your life. You had known how to take an inventory of your wealth. Now take an inventory of your mind."

Atlas Shrugged by Ayn Rand, p. 967-8

Peikoff On Rand

Leonard Peikoff on Ayn Rand:

Ayn Rand's real intellectual interest was emphatically not politics. Of course, she was a champion of capitalism and freedom. But unlike today's libertarians and conservatives, she was a thinker; she was not content to preach liberty or private property as though they were self-evident axioms. She wanted to know what they depend on and how they can be proved, all the way back to metaphysics and epistemology. This is why she admired Aristotle and Thomas Aquinas even more than she did Thomas Jefferson, and why, to the amazement of today's businessmen, she hated Kant and Hegel much more than income taxes. It is also why, starting with an interest in political questions, she was led eventually to formulate an overall system of thought, expressing a complete philosophy of life.

Ayn Rand's mind had an exalted quality, one shared by only a handful of kindred spirits across the ages. Hers was a mind with the profundity of a true philosopher; a mind that greeted the deepest issues of man's life with solemn reverence and ruthless logic; a mind that derived its greatest joy and its personal fulfillment from the rational study of fundamentals. In our age of mediocrity and anti-philosophy, this fact doomed her to a certain loneliness. It made her a unique personality, unable to find her equal, just as her product, the philosophy of reason that she called Objectivism, is unique and unequaled.

If you want to know what Ayn Rand was like as a person, I can now answer simply: you already know it, because she was just what she had to be given the nature of her intellectual processes. Ayn Rand the person was an expression and corollary of Ayn Rand the mind.

"My Thirty Years With Ayn Rand", The Voice of Reason, p. 346-7

Greatness

Ayn Rand on greatness:

Greatness is achieved by the productive effort of a man's mind in the pursuit of clearly defined, rational goals. But a delusion of grandeur can be served only by the switching, undefinable chimera of a public monument—which is presented as a munificent gift to the victims whose forced labor or extorted money had paid for it—which is dedicated to the service of all and none, owned by all and none, gaped at by all and enjoyed by none.

"The Monument Builders", The Virtue of Selfishness, p.89

Nat Taggart Statue From Atlas Shrugged

Exalted quote by Ayn Rand from Atlas Shrugged:

Dagny regretted at times that Nat Taggart was her ancestor. What she felt for him did not belong in the category of unchosen family affections. She did not want her feeling to be the thing one was supposed to owe an uncle or a grandfather. She was incapable of love for any object not of her own choice and she resented anyone's demand for it. But had it been possible to choose an ancestor, she would have chosen Nat Taggart, in voluntary homage and with all of her gratitude.

Nat Taggart's statue was copied from an artist's sketch of him, the only record ever made of his appearance. He had lived far into old age, but one could never think of him except as he was on that sketch—as a young man. In her childhood, his statue had been Dagny's first concept of the exalted. When she was sent to church or to school, and heard people using that word, she thought that she knew what they meant: she thought of the statue.

The statue was of a young man with a tall, gaunt body and an angular face. He held his head as if he faced a challenge and found joy in his capacity to meet it. All that Dagny wanted of life was contained in the desire to hold her head as he did.

Tonight, she looked at the statue when she walked across the concourse. It was a moment's rest; it was as if a burden she could not name were lightened and as if a faint current of air were touching her forehead.

Atlas Shrugged by Ayn Rand, p. 63

Introduction To "Exalted Moments"

Philosopher-novelist Ayn Rand was the originator of the philosophy known as "Objectivism". Of her famous novel "Atlas Shrugged", she wrote:

You ask me about the meaning of the dialogue on page 702 of Atlas Shrugged:

"'We never had to take any of it seriously, did we?" she whispered. "'No, we never had to.'"

Let me begin by saying that this is perhaps the most important point in the whole book, because it is the condensed emotional summation, the keynote or leitmotif, of the view of life presented in Atlas Shrugged.

What Dagny expresses here is the conviction that joy, exaltation, beauty, greatness, heroism, all the supreme, uplifting values of man's existence on earth, are the meaning of life—not the pain or ugliness he may encounter—that one must live for the sake of such exalted moments as one may be able to achieve or experience, not for the sake of suffering—that happiness matters, but suffering does not—that no matter how much pain one may have to endure, it is never to be taken seriously, that is: never to be taken as the essence and meaning of life—that the essence of life is the achievement of joy, not the escape from pain. The issue she refers to is the basic philosophical issue which John Galt later names explicitly in his speech: that the most fundamental division among men is between those who are pro-man, pro-mind, pro-life—and those who are anti-man, anti-mind, anti-life.

It is the difference between those who think that man's life is important and that happiness is possible—and those who think that man's life, by its very nature, is a hopeless, senseless tragedy and that man is a depraved creature doomed to despair and defeat. It is the difference between those whose basic motive is the desire to achieve values, to experience joy—and those whose basic motive is the desire to escape from pain, to experience a momentary relief from their chronic anxiety and guilt.

It is a matter of one's fundamental, overall attitude toward life—not of any one specific event. So you see that your interpretation was too specific and too narrow; besides, the Looters' World had never meant anything to Dagny and she had realized its "sham and hypocrisy" long before. What she felt, in that particular moment, was the confirmation of her conviction that an ideal man and an ideal form of existence are possible.

The Letters of Ayn Rand, Michael Berliner (editor), p. 583-4

The purpose of this blog is to examine "exalted moments" and to answer questions such as:

How does one define an exalted moment?

How does one achieve an exalted moment?

What kind of thinking is required for an exalted moment?

What kind of action is required for an exalted moment?

What is the relationship between goal-directed actions (goal setting) and exalted moments?

What values and virtues are necessary to achieve an exalted moment? Do certain values and virtues have primacy over others?

What does one feel emotionally when one is experiencing an exalted moment? Is the feeling of an exalted moment the same or different than happiness? Is an exalted moment momentary? Is happiness a longer duration emotion?

Why are exalted moments psychologically important (necessary) for human life?

What is the proper social environment for exalted moments? How does one share exalted moments with others?

What is the relationship between esthetics and exalted moments? How is an exalted moment portrayed in art? Who are artists who correctly portray exalted moments?

At what age can one start experiencing exalted moments? How does one explain them to children?

How do exalted moments related to romantic partners and friends?

What are the great exalted moments of history?

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